
Going Pro With Logic Pro 8
by Asher,Jay-
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Summary
Table of Contents
Introduction | p. xi |
Make It Work: Techniques for Customizing Your Logic Pro 8 Setup for Greater Efficiency | p. 1 |
Converting a Logic Pro 7 Template into a Logic Pro 8 Template without Headaches | p. 2 |
Editing and Resaving a Logic Pro Template for Use in Logic Pro 8 | p. 2 |
Opening the Template in Logic Pro 8 and Finishing It | p. 5 |
Using Software Instruments That Are Both Multi-Timbral and Multi-Output | p. 8 |
Creating a Multi-Timbral, Multi-Output Stylus RMX and Assigning Sounds to MIDI Channels | p. 8 |
Creating Auxes for the Multi-Output Software Instrument and Assigning the Outputs in the Software Instrument | p. 10 |
Converting Multi-Output Software Instruments to Audio Files | p. 14 |
Creating Audio Tracks, Assigning Their Inputs, and Assigning the Outputs of the Auxes | p. 16 |
Customizing an Environment Layer for a "Live" Mixer | p. 19 |
Input Channel Strips | p. 19 |
Creating Input Channel Strips | p. 19 |
Creating an EXS24 Instrument Loader Project | p. 24 |
Preparing an EXS24 to Change Instruments by Playing a Note | p. 24 |
Creating a MIDI Region for Cycling and Automatically Loading New EXS24 Instruments | p. 26 |
Creating an Orchestral Template in Logic Pro 8 with Third-Party Libraries for the EXS24 | p. 28 |
Creating the EXS24 Software Instruments | p. 28 |
Some Considerations | p. 32 |
Customizing Environment Layers for Mixing in Your Orchestral Template in Logic 8 | p. 33 |
Creating the Environment Layers | p. 33 |
Moving the Software Instrument Channel Strips to the Desired Environment Layers | p. 34 |
Modifying Your Orchestral Template for Score Printout in Logic 8 | p. 39 |
Assigning Default Score Styles for Regions | p. 39 |
Considerations | p. 41 |
Becoming a Logic Pro 8 Stud: Techniques for Composing and Editing with Logic Pro 8 | p. 47 |
Advanced Quantize Techniques for Natural-Sounding MIDI Parts in Logic Pro 8 | p. 48 |
Hard Quantizing with the Region Parameters Box | p. 48 |
Using the Extended Region Parameters for More Musical Quantization | p. 48 |
Placing Regions Efficiently in Logic Pro 8 | p. 55 |
Using the Key Commands for Go to Position and Pickup Clock to Place Regions | p. 55 |
Using the Event Float to Place Regions | p. 55 |
Using the Event List to Place Regions | p. 56 |
Using Groove Templates for an MPC3000-Like Feel | p. 60 |
Adding the MPC3000 Quantize Choices to Your Logic Template | p. 61 |
Working with the MPC-3000 Quantize Choices | p. 63 |
Using Logic Pro 8's Arpeggiator | p. 67 |
Creating the Arpeggiator in the Environment to Work with a Software Instrument | p. 67 |
Setting the Arpeggiator's Parameters | p. 68 |
Using Multiple Arpeggiators with a Software Instrument | p. 70 |
Recording Two Different Software Instruments Discretely from Two MIDI Controllers with Logic Pro 8 | p. 73 |
Setting Up Logic Pro 8 and Your MIDI Controllers | p. 73 |
Recording the Two Software Instruments Discretely from the Two Controllers | p. 76 |
Important Things to Remember | p. 77 |
Side Chaining in Logic Pro 8 | p. 79 |
Adding Vocoder FX to a Vocal with the Evoc 20 Polysynth and Side Chaining | p. 79 |
Side Chaining Compressors | p. 82 |
Creating a Tempo Map from an Audio File without Strong Transients | p. 85 |
Considerations before You Begin | p. 85 |
Creating a MIDI Region to Beat Map To | p. 87 |
An Optional Test for Fine Tuning | p. 89 |
Bringing Audio Files into a Logic Pro 8 Project and Having Them Chase Tempo | p. 91 |
Re-recording an Audio File in a Logic Project | p. 91 |
Creating a Tempo Ramp for the Audio File to Chase | p. 92 |
Using Soundtrack Pro 2 as an External Sample Editor to Render Effects to an Audio Region in Logic Pro 8 | p. 96 |
Setting Up Logic Pro to Use Soundtrack Pro 2 as an External Sample Editor | p. 96 |
Sending an Audio Region from Logic Pro to Soundtrack Pro 2 to Add Effects | p. 97 |
Adding an Effect to a Region in Soundtrack Pro 2 and Replacing the Original Region with It in Logic Pro 8 | p. 98 |
Plotting Hits in Logic Pro 8 | p. 100 |
Converting Scene Markers to Standard Markers and Moving Them a Few Frames | p. 100 |
Jay's Fly-by-the-Seat-of-Your-Pants Method for Plotting Hits | p. 102 |
Considerations | p. 108 |
Getting in Touch with Your Inner Geek: Techniques for Recording and Mixing with Logic Pro 8 | p. 109 |
Wise Gain Structure Techniques for Mixing In The Box within Logic Pro 8 | p. 110 |
Pre-Fader Metering | p. 110 |
Controlling the Level Being Sent to the Channel | p. 113 |
Old-School Punch-In Audio Recording with Logic Pro 8 | p. 115 |
Setting Up Logic Pro 8 for Punching In and Out on a Track without Stopping, Tape-Recorder Style | p. 115 |
Tape Recorder-Style Recording | p. 117 |
Newer-School Punch-In Recording | p. 119 |
Creating a Customized Click Track | p. 122 |
Setting Up Logic Pro 8 for Creating a Customized Click Track and Exporting It as Audio | p. 122 |
Creating a MIDI Region for the Click and Exporting It as Audio | p. 124 |
Using Parallel Compression in Logic Pro 8 | p. 126 |
Setting Up for Parallel Compression | p. 126 |
An Even Easier Method | p. 127 |
Drum Enhancement/Replacement with Logic Pro 8 | p. 130 |
Audio to Score | p. 130 |
Using ApTrigga2 for Drum Replacement/Enhancement | p. 135 |
Bouncing, Freezing, Exporting, and Recording to Audio Tracks: When, Why, and How | p. 139 |
Freeze Tracks | p. 139 |
Export | p. 141 |
Routing Auxes to Audio Tracks for Recording | p. 144 |
Using UAD Cards with Logic Pro 8 | p. 146 |
Using UAD Plug-Ins on Auxes and Outputs | p. 147 |
Logic Pro 8 and the Outside World: Techniques for Integrating Third-Party Software and Hardware with Logic Pro 8 | p. 153 |
Using Kontakt as a Standalone with Logic Pro 8 | p. 154 |
Downloading and Installing Soundflower | p. 154 |
Creating an Aggregate Device in Audio MIDI Setup | p. 154 |
Setting Up Kontakt 3 as a Standalone | p. 155 |
Setting Up Logic Pro 8 | p. 156 |
Using Stormdrum 2 as a Standalone with Logic Pro 8 | p. 160 |
Setting Up Stormdrum 2 as a Standalone | p. 160 |
Setting Up Logic Pro 8 | p. 161 |
Using Reason 4 via ReWire with Logic Pro 8 | p. 165 |
Setting Up Logic Pro to Communicate with Reason | p. 165 |
Adding a Second Reason Instrument and Routing It into Logic Pro Discretely | p. 166 |
Using ReCycle 2 with Logic Pro 8 and the EXS24 | p. 170 |
Creating a REX 2 File in ReCycle 2 | p. 170 |
Bringing a REX 2 Loop onto an Audio Track in the Arrange Area | p. 172 |
Bringing a REX 2 Loop into the EXS24 | p. 174 |
Using Logic Pro 8 as a Software Instrument Rack for an Akai MPC3000 | p. 176 |
Setting Up the Environment for an MPC3000 Template | p. 176 |
Troubleshooting | p. 179 |
Creating and Placing 2 Pops in Logic Pro 8 Projects for Audio File Alignment in a Pro Tools Session | p. 181 |
Recording and Placing the 2 Pop | p. 181 |
Placing the Audio Files in a Pro Tools Session (for Delivery to Post-Production) | p. 184 |
Logic Pro 8 as a Front End for a TDM (HD) Rig | p. 187 |
Using Both Logic Pro 8's Native Direct TDM Audio Driver and Digidesign's DAE Audio Driver | p. 187 |
Creating a Logic Pro 8 Template with Both Direct TDM and DAE Audio Drivers Instantiated | p. 187 |
Index | p. 193 |
Table of Contents provided by Ingram. All Rights Reserved. |
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